{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"de9b4263-c277-4979-9f00-91fe8d8660f7","title":"差异与重复","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787567591363","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"de9b4263-c277-4979-9f00-91fe8d8660f7","id":"de9b4263-c277-4979-9f00-91fe8d8660f7","uuid":"de9b4263-c277-4979-9f00-91fe8d8660f7","title":"差异与重复","normalized_title":"差异与重复","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787567591363","isbns":["9787567591363"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":538,"navigation_url":"https://workshop.closeclaw.top/ai/book/de9b4263-c277-4979-9f00-91fe8d8660f7","title_url":"https://workshop.closeclaw.top/ai/title/%E5%B7%AE%E5%BC%82%E4%B8%8E%E9%87%8D%E5%A4%8D","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/de9b4263-c277-4979-9f00-91fe8d8660f7/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/de9b4263-c277-4979-9f00-91fe8d8660f7/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/de9b4263-c277-4979-9f00-91fe8d8660f7","page_url":"https://workshop.closeclaw.top/api/ai/books/de9b4263-c277-4979-9f00-91fe8d8660f7/page","search_url":"https://workshop.closeclaw.top/api/ai/books/de9b4263-c277-4979-9f00-91fe8d8660f7/search"},"page":{"printed_page":44,"pdf_page":63,"physical_index":63,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"75df87436a4423f247365cd99a8755fcd661967fbe12231800dd266ee6acb81d"},"chapter":"差异与重复","content":"44\n\n差异与重复\n\n① Matila Ghyka,《黄金分割》(Le nombre d'or, N. R.F. ,1931),卷I,页65(【译按】参吉卡，《生命·艺术·几何》，盛立人译，北京：高等教育出版社,2014，页7—19)。\n\nA\n\n②【译按】“有强有弱的相同时间片断，按照一定的次序循环重复，叫做‘节拍’”，而“‘节奏’，简单讲，就是用强弱组织起来的音的长短关系”(李重光，《基本乐理简明教程》，北京：人民音乐出版社，1990,页43)。","previous_page":43,"next_page":45}